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2011.03.17

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For much of its running time, Black Swan reminded me of Showgirls. I haven't bothered checking online, but I'm sure it's a pretty frequent comparison.

And the people making "A Prophet" were just bullshitting. Didn't they mention somewhere that they were interesting in creating heroes for a young Arab audience? The show has nothing to do with morals of the day. If anything, it's about the pleasures of crime; made all the more sweet by the minor tragedies which always come to good. Much better than that boring movie about Mesrine (which brings us back to Black Swan + Vincent Cassel).

I really was looking forward to enjoying the pleasure of the Black Swan. I'm not now. No, I certainly am not. That won awards? I've been in this cave too long. I'll stick to The Red Shoes, I think.

Jog sold it for me, John. I'd previously entertained the fantasy that Black Swan would be like The Red Shoes, but with the twenty-minute centerpiece a steal from Dracula: Pages From A Virgin's Diary - y'know: "Foreigners! From The East!"

Maybe Vincent Cassel could rock the ascot and robe combo, like Anton Walbrook, I think.

http://fuckyeahnouns.com/jodie%20foster

If I were a better nerd I'd say something about Jean-Luc Picard + God, but reading that interview... Goddamn, there is nothing more obnoxious than fellow filmmakers defending Polanski? Not even a defence! Just a causal dismissal of the possibility of culpritability. For fucks sake you French old man...

The way I viewed Black Swan was a story about what happens when you realize that what you're doing, the way you live your life, isn't working, will never work and in fact has never worked at all, and about how that realization is impossible to survive because it requires re-invention on a magnitude that the human psyche can't take.

I liked how bare-faced it was about its Polanski influences. I liked how Portman seemed to wallow in her own filth. I think that as a testament to the potent combination of self-loathing and obsession the film is quite an achievement and strikes a dark chord with me, personally.

What did Jog mean about DFW being right about Aronofsky? Is it in an essay that I can read?

The "him" is Tarantino; searching "David Foster Wallace on Tarantino" yielded this http://filmdr.blogspot.com/2010/04/david-foster-wallace-on-identity.html

That's a good bit too, but I was primarily referring to the essay David Lynch Keeps His Head, collected in A Supposedly Fun Thing I'll Never Do Again, and online here:

http://www.lynchnet.com/lh/lhpremiere.html

"In a way, what Tarantino has done with the French New Wave and with Lynch is what Pat Boone did with rhythm and blues: He's found (ingeniously) a way to take what is ragged and distinctive and menacing about their work and homogenize it, churn it until it's smooth and cool and hygienic enough for mass consumption..."

The bit about fatalism references Fate, Time, and Language: An Essay on Free Will, which I was reading at the time... truthfully, that's where the DFW/QT joke comes from, less a meaningful reference than a silly joke pinging off something else in my head...

(The Pale King is pretty good!)

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